Canadian Society for Asian Arts Sunken Treasures Exhibition Catalogue

2 Sunken Treasures – Asian Ceramics
September 16 – November 8, 2018
Exhibition held at the Dr. Sun Yat-Sen
Classical Chinese Garden
Hall of One Hundred Rivers
578 Carrall Street, Vancouver, BC
The Canadian Society for Asian Arts (CSAA)
The Canadian Society for Asian Arts was founded
in 1969 as a non-profit multicultural organization
by a diverse group of volunteer scholars, travellers,
collectors and other individuals who shared an
interest in and a passion for Asian arts and culture.
The CSAA is uniquely pan-Asian in its mission,
its program, its membership, and its governing
Board. The purpose of the Society is to promote
the appreciation and understanding of the arts of
Asia by bringing quality programs, exhibitions and
publications to interested groups and individuals in
Canada and by exploring links among the cultures
of Asia.
Since 1969, the CSAA has presented hundreds of
events on Asian arts and culture.
Dr. Sun Yat-Sen Classical Chinese Garden
Known as “Vancouver’s Living Treasure”, Dr. Sun
Yat-Sen Classical Chinese Garden first opened
its doors in 1986. The Garden stands as the first
full-scale Ming scholar’s garden-home constructed
outside of China by a group of Chinese artisans
using traditional techniques.
Since then, the Garden has been one of Vancouver’s
premier art and culture organizations committed
to generating cross-cultural dialogues and
understanding in the community. Today, the
Garden continues to promote appreciation of
Chinese art and culture through a variety of events
and programs, as well as local and international
exhibitions presented by the Arts & Exhibitions
Department.
Exhibition Presented by

Sunken Treasures – Asian Ceramics 1
Cargoes from shipwrecks, filled with
silk, tea, spices and prized Chinese
and Southeast Asian ceramics, attest
to the vigour of trade and the rich
cultural history of the Asian region.
Trade flourished from the 14th to
19th centuries. Chinese junks and
Portuguese, Dutch, Spanish and
English galleons were among the
many ships actively plying the South
China Sea, the Manila to Acapulco
route and beyond, forming
a ‘Maritime Silk Road’.
Ships laden with ceramics, and the
especially esteemed blue and white
porcelain, tell the story of wares
highly valued throughout Asia, the
Middle East and eventually Europe.
Known for their beauty and utility,
Asian ceramics offered a wide variety
of forms, glazes and designs popular
centuries ago and still popular today.
The Sunken Treasures exhibition
presents shipwreck ceramics:
snapshots in time that expand our
knowledge and appreciation of
cultural treasures from the past,
retrieved only recently from the
bottom of the sea.
Introduction
Small plate
China, c 1725
Underglaze blue porcelain
Ca Mau shipwreck, Vietnam
Collection Sam Carter

Challenges abound for marine
archaeologists in Southeast Asian
seas, which contain some of the
busiest sea lanes in the world, are
beset by seasonally violent weather
and can be pirate-infested. To this,
add the demands of conducting
professional marine archaeology,
requiring time, expertise and
considerable financial resources in
an area rife with souvenir-seekers
and well-equipped treasure hunters.
Negotiations among governments,
salvage experts, academics and
investors turn any project, in any
sea, into a formidable undertaking.
As a result, only a small percentage
of shipwrecks have received
archaeological attention.
Shipwrecks are often located at
depths that increase diving expenses
and danger. Working in silted waters
with fragile—and valuable—cargo
creates stressful diving conditions.
And yet, the historical knowledge
to be gained draws marine
archaeologists to the prizes in these
underwater time capsules. As for
the value of ancient ceramics, it has
been said, ”They are easy to break,
but difficult to destroy”. Even broken,
covered with concretions, shells and
coral, the archaeological evidence is
still there. The tiniest piece reveals
much about its maker, its intended
purpose, the culture of its origin and
the markets for which it was created.
Shipwreck Archaeology

Image:
The modern diver’s gear contrasts
with the antiquities of the Brunei
wreck; diver holds a Chinese blue
and white plate, next to a Thai jar
and large Chinese plate.
The Sunken Treasures of Brunei
Darussalam: Archaeologists
Logbook, Editions Textuel, Paris,
2001, page 75

4 Sunken Treasures – Asian Ceramics4 Sunken Treasures – Asian Ceramics

Centuries of trade along the
‘Maritime Silk Road’ left trails of
sunken ships that succumbed to
weather, unsound vessels, piracy
and warfare. While many wrecks
have been discovered, only a
small percentage has received
identification of both ship and cargo.
Wrecks are often found accidently
when ceramics appear in fishing nets
and are sold onshore.
Recovery of shipwrecks can be a
multi-year process demanding
financial investment in expectation
of a profitable return. After
desalination, cleaning and
documentation, ceramics are often
sold through international auction
houses. In 1986, sale of 150,000
pieces from ‘The Nanking Cargo’
or Geldermalsen wreck yielded
about 17 million dollars CDN.
Increased commercial exploitation of
shipwrecks prompted the adoption
of the 2001 UNESCO Convention on
the Protection of the Underwater
Cultural Heritage.
Wrecks of known ships have
provided a reliable source of
information, giving archaeologists,
academics, historians and collectors
definitive details about the dating,
design and kiln sites of ceramics as
well as the development of ships and
maritime trade.
Ceramics in the Sunken Treasures
exhibit represent examples from
many major shipwreck finds, such as
the Hoi An, Witte Leeuw, Vung Tau,
Geldermalsen, Santo Cristo de Burgos
and the Diana.
A Map Of Shipwrecks In
Southeast Asian Seas

Brunei, located on the NW coast of
Borneo, was active in the maritime
trade of its camphor wood from
equatorial forests. The Brunei junk
shipwreck (c 1485–1524), discovered
in 1997, carried a mixed ceramic
cargo: Chinese green-glazed
stoneware, or celadon, some blue
and white porcelain and a large
contingent of Thai celadon and
brown-glazed wares. Fine celadon
from China was produced at the
renowned Longquan kilns. As
Longquan declined in the mid 15th
century, southern kilns assumed
production and may have influenced
potters at Sawankhalok in central
Thailand where Thai celadon was
made.
Celadon stonewares were not high-
fired. In trade, the green and brown
wares were less expensive than the
Chinese porcelains and signalled that
a different, less affluent customer
was being sought. In shipwreck
cargoes, the stoneware was less
resistant to the effects of seawater,
which over time often degraded the
glaze. The Brunei vessel suggests
commerce of large quantities of
articles made for everyday use
was both popular and profitable.
The small and large Thai jars were
efficient containers for household
supplies, filling a utilitarian demand.
The shipwreck cargo proved
Thai potters were masters in the
mass production of sturdy, simply
designed and decorated ceramics,
with their unique aesthetic value.
The Brunei Darussalam Junk:
Ceramics For Daily Life

Sunken Treasures – Asian Ceramics 7Sunken Treasures – Asian Ceramics 7
Thai stonewares, Brunei
Darussalam Junk Shipwreck
L’Hour, Michel, ed., The Sunken
Treasures of Brunei Darussalam:
Scientific Study, Editions Textuel,
2001, page 95

The 14th century was a watershed
moment in the development of
Vietnamese ceramics. Early Ming
China (1352–1488) had banned
private trade between China and
foreigners. Known as the ‘Ming Gap,’
the reduction in Chinese export
ceramics opened the door to other
Southeast Asian countries to fill
orders, especially for the favoured
blue and white wares. Vietnam, with
a long history of ceramic production,
increased the number and quality of
its creations.
Vietnam adopted high-fired ceramic
technology from China while
combining Chinese and Indian
forms and decoration with their own
designs to make distinctive wares.
Traded primarily within insular
Southeast Asia, the wares eventually
appeared as far afield as Japan and
the Middle East.
At Cu Lao Cham Island near the
town of Hoi An, the shipwreck
was discovered by fishermen.
A scientifically conducted
archaeological excavation, overseen
by Vietnamese archaeologists and
experts from Oxford University,
was carried out from 1997–1999.
The ship was loaded with fine trade
ceramics, made in northern kilns
such as Chu Dau. Over 150,000
intact wares provided an important
perspective on Vietnamese blue
and white and polychrome wares
from c. 1500. The Hoi An cargo
remains an extraordinary archive of
Vietnamese artistic sensibilities and
technological sophistication.
Hoi An: Vietnamese Shipwreck Ceramics

By the 9th century CE ceramic
production in China had evolved
using high-fired kaolin clay and
petunse stone to create 瓷 cí or what
the West would call “porcellana”, or
porcelain. Valued for its durability,
hard white body, transparency and
ability to “sing” when struck, it was
‘so beautiful, that none would know
how to devise them better,’ as Marco
Polo would later exclaim.
Blue and white ceramics were traded
throughout Southeast Asia and the
Middle East from the 9th century, as
evidenced by the ceramic cargo of an
Arab dhow shipwreck in the Java Sea.
By the late 13th and early 14th
centuries, blue and white ceramic
production flourished in China
with easy access to Persian cobalt,
from which the richly hued blue
derived. In the early Ming dynasty
(1368–1644) blue and white porcelain
of the highest quality was used as
“diplomatic currency.”
The Portuguese, in search of spices,
first encountered blue and white and
trade began. When two Portuguese
carrack ships were captured by
the Dutch in 1603, the auction of
blue and white porcelain cargo in
Amsterdam caused a sensation. The
popularity of blue and white kraak
(after ‘carrack’) ware was such that
over 16 million pieces of porcelain
were shipped to Europe in the 17th
century alone as the trade between
China and European nations
expanded.
Blue And White:
The Most Popular Porcelain

Sunken Treasures – Asian Ceramics 11Sunken Treasures – Asian Ceramics 11
Image:
Chinese artist’s illustration, c 1790, of
firing beehive kilns and discarding sherds
– one stage in the production of porcelain
at Jingdezhen kiln in China.
Image:
Chinese artist’s illustration c. 1790 of designs being painted onto
porcelain wares, prior to glazing, at the Jingdezhen kiln in China.

Image: Around the world maritime trade routes in the 16th century. From the 1560’s
onwards the yearly Manila Galleon sailed across the Pacific carrying silver and back from
the Philippines laden with produces from the Far East, including porcelain.
Carswell, John, Blue & White Porcelain Around The World. London: The British Museum Press,
ppb. 2007, map 140. page 126

For 250 years, from 1565–1815, the
Spanish shipped cargoes of Asian
luxury goods, including silk, tea,
spices, ivory, beeswax and Chinese
porcelain from Manila to Acapulco,
returning with silver for Chinese
traders. Cargo was destined for
Spain’s New World colony and was
also transported overland to Veracruz
in the Gulf of Mexico where treasure
ships carried it back to Spain.
The popularity of Chinese goods,
especially the fine porcelain, assured
a healthy profit at journey’s end.
Only four ships went missing on the
eastbound route during the trading
period, and three of these have
been found, shipwrecked on the
west coast of North America. These
include the Santo Cristo de Burgos,
lost in Oregon waters in 1693; the
San Agustin, wrecked off the coast
of California in 1595; and a wreck in
Baja, Mexico, identified as either the
San Juanillo from 1578, or the San
Juan of 1586. Chinese porcelain has
been found, often in small pieces or
sherds, washed up on beaches - a
testament to the priceless cargoes
sunken in the nearby sea.
West Coast Shipwrecks

One of the earliest examples of
Chinese porcelain with Western
style decoration is a late 16th
century bottle decorated with the
coat of arms of Castilia and Leon,
probably copied from a coin. It was
commissioned by Portuguese traders
who at that time held the monopoly
on China trade.
With the founding of the British
and Dutch East India Companies in
1600 and 1602, orders for Chinese
ceramics increased. Wooden and
pewter models of Western objects
such as mustard pots, jugs and
plates were given to Chinese
potters to copy. Initially, customers
clung to the unfamiliar charm of
exotic Chinese decorative styles.
Eventually, Western designs also
gained in popularity. The so-
called “Scheveningen” plates are
an example of European demand
influencing design. Scheveningen is
a fishing village near The Hague in
the Netherlands, recognizable by the
lighthouse and church steeple. The
design copied a Dutch Delft original
in the manner of painter Frederik
van Frytom.
Cargo from the Vung Tau (c 1690)
included vases, responding to the
European fashion of collecting
Chinese porcelain as interior
decoration for display. The
Geldermalsen (1752) carried Western
style dinner sets and cups meant for
drinking tea, chocolate and coffee;
687,000 pounds of tea accompanied
the ceramic cargo.
Chinese Porcelain
shaped by the West

Case 1
Diving helmet
China, 1947
Historical Diving Society Canada
Coins
China, Song dynasty 960 – 1279 CE
Possibly private cargo; possibly
Phu Quoc II shipwreck, c 1450-
1487, Vietnam
Diving knife
U.S.A., c 1950
Covered with encrustations
and barnacles

Case 2
Jar
China, 14th century,Yuan dynasty
Celadon dark brown-green glaze,
globular form, two lug handles at neck
with four incised floral designs on
upper body and chrysanthemum motif
above the base.
Possibly Turiang shipwreck, Malaysia
Collection Rosalie Stronck
Dish
China, 15th century, early Ming dynasty
Celadon glaze, foliated rim, floral
design in medallion, scrolling floral
motif on cavetto, vertical ribs on
exterior.
Longquan shipwreck, Malaysia
Sherd (broken fragment)
China, 13th century, Longquan kiln
Celadon glaze, rim of bowl with
foliated edge.
Shipwreck unconfirmed
China, 14th century,Yuan dynasty
Celadon glaze, base of dish with
two fish motif in medallion.
Jarlet with lid
Thailand, Si Satchanalai, c 1450 – 1487
Celadon glaze, ovoid shape with
carved vertical ribs, lid with three
circular rings and pointed finial.
Royal Nanhai shipwreck, Malaysia
Jarlet
Thailand, Si Satchanalai,
14th/15th century
Celadon glaze, globular shape
with single lug handle.
Possibly Ko Khram
shipwreck, Thailand
Dish
China, 13th century,
Southern Song dynasty, Longquan
kiln Celadon glaze, two fish design in
medallion, vertical ribs on exterior;
small marine encrustations on
medallion.

Case 3
Red branched coral
South China Sea
Bottle
Thailand, Sawankhalok ware 15th century
Brown glaze stopping at lower body,
globular shape with inverted mouth-
rim, two ring- shaped lugs at the
shoulder, decorated with 14 incised
horizontal bands around shoulder;
bevelled foot-ring.
Possibly Brunei Darussalam Junk
shipwreck, Brunei
Private collection
Five bottles
Thailand, Sawankhalok ware 15th century
Glazes ranging from brown, speckled
brown, grey-green to cream stopping
at lower body, ovoid form with
inverted mouth-rim, two ring-shaped
lugs at the shoulder, decorated with
incised horizontal bands around
shoulder; bevelled foot-ring.
Brunei Darussalam Junk shipwreck,
Brunei Private collection

Case 4
Jarlet
Vietnam, late 15th/early 16th century
Underglaze blue, ovoid form, floral
design in four sections with cover
decorated with pointed petals around
the bud finial.
Hoi An shipwreck, Vietnam
Covered box
Underglaze blue, top and
sides decorated with stylized
chrysanthemum amid cloud-like
tendrils on a cobalt blue ground.
Jarlet
Underglaze blue, ovoid form with
waisted base decorated with a central
band of floral design, cover with
pointed petals around small finial.
Covered box
Underglaze blue, top decorated with
central floral medallion surrounded
by six petal lappets; sides with petal
reserves filled with geometric and
floral designs, single line band around
base.
Covered box
Underglaze blue, top decorated with
geometrical motif surrounded by six
petaled band, sides with six wave and
floral lappets.
Jarlet
Underglaze blue, globular form
decorated with continuous band of
birds amid bamboo.
Bottle
Underglaze blue, pear-shaped with
vertical petal design.

Octagonal covered box
Underglaze blue, central design on
cover of a ruyi (sceptre) cloud scroll,
sides with rectangular reserve filled
with tendrils or wave pattern.
Parrot Bowl
Underglaze blue, moulded bowl,
formed as a peach with parrot design
curled around exterior rim.
Private collection
Tortoise water dropper
Underglaze blue, formed in the shape
of a tortoise with moulded head and
limbs; geometric design.
Private collection
Six box lids
Underglaze blue, round or octagonal flat lids
decorated with a bird, horse or other animal
within a double blue line ring.
Jarlet
Underglaze blue, double gourd shape,
design of scrolling foliage.
Private collection
Case 4 continued

Case 5
Large plate
Underglaze blue design of flying goose
amidst clouds above a landscape,
cavetto decorated with floral design,
exterior design of lotus panels, brown
washed base; marine encrustations in
centre, on cavetto and foot rim.
Private collection
Dish
Underglaze blue, medallion with
shrimp design within double line
border and scrolling rim; exterior
ribbed with scrolls at rim and foot rim.
Possibly Hoi An shipwreck, Vietnam
Ewer
Underglaze blue, with unglazed
openwork panel reticulated as a parrot
amid foliage, surrounded by design of
scrolling flowers, jeweled lappets at
the foot.
Serving Dish
Underglaze blue, with bird medallion
within double line border encircled by
a cavetto band of leafy sprigs, recessed
base washed with brown slip.
Private collection

Case 6
Dish
China, c 1643 – 1646
Underglaze blue, dragon motif with
clouds bordered by double lines and
wavy ring; four floral motifs on cavetto.
Hatcher Ming Junk shipwreck,
Indonesia
Dish
China, Kangxi period 1661 – 1722
Underglaze blue, Kraakware,
medallion of deer and pine tree design
within double line border, octagonal
sections on the cavetto filled with
floral and figure-in-a-landscape motif.
Deer and pine trees represent a wish
for lifelong vitality and health.
Private collection
Cup
China, Kangxi period 1661 – 1722
Underglaze blue, Kraakware,
medallion of deer and pine tree design
within double line border; exterior
with octagonal sections, filled with
floral and figure-in-a-landscape motif.
Private collection
Two sherds (broken pieces)
China, 1613
Bottle sherd – porcelain, underglaze
blue design of Kraakware type
Bowl sherd – porcelain, underglaze
blue design of a dragon.
Witte Leeuw (White Lion) shipwreck,
near St. Helena Island;
Private collection
Bowl
China, Wanli period c 1625 p44
Underglaze blue, interior well with
Lingzhi design of a medicinal plant,
a symbol of longevity, within double
line border and double line border on
interior rim; exterior Lingzhi design
surrounded by floral scroll.
Wanli shipwreck, Malaysia
Private collection
Dish
China, 1613
Underglaze blue, with greenish blue glaze,
foliated rim, medallion of dog design
surrounded by line border; interior and
exterior rim with scrolling motif
Witte Leeuw (White Lion) shipwreck
China, 1613
Underglaze blue, base of dish with
central medallion of bird among
flowering branches
Witte Leeuw (White Lion) shipwreck,

Case 7
Box
China, c 1725
Underglaze blue design: lid with
central medallion of peony flower
and rock design, floral pattern on
side lid and base, glazed base; shell
encrustation on lid.
Private collection
China, 1693
Monochrome white-glazed porcelain
with double foot rim, no longer
produced after 17th century, possibly
Dehua kiln.
Santo Cristo de Burgos or “Beeswax”
shipwreck, collected from Short Sands
Beach, Northern Oregon, USA
Collection Beeswax Wreck Research Project
China, 1693
Underglaze blue porcelain, very
small fragment.
2 Sherds (broken fragments)
China, 1693
Brown unglazed stoneware, possibly
from an on-board storage jar.
Boy
China, c 1643 – 1646
Underglaze blue on front torso, seated
with hands raised, side top-knot and
smiling face. The sculptural figure may
be private cargo for altar use, wishing
for a child’s safety.
Hatcher Ming Junk shipwreck,
Indonesia
Vase
China, c 1680 – 1700
Underglaze blue vase, known as
Kaststel in Dutch, formed part of
a garniture or set (usually five) of
objects used for decorative purposes;
gu-shaped (flared rim) ware with three
horizontal bands of petal panels of
floral sprays with hatched border
inside and outside of mouth-rim,
lozenge (one of the ‘Eight Treasures’),
an auspicious symbol, on base.
Vung Tau shipwreck, Vietnam

Case 7 continued
Vase with cover
China, c 1680 – 1700
Underglaze blue, baluster vase with
domed cover and finial, feathery
chrysanthemum motif; part of a
Kaststel (Dutch) or ceramic set for
display on a cabinet.
Bowl
China, 1752
Underglaze blue, inner medallion of
peony with single line at rim; brown-
glazed exterior.
Nanking Cargo, Geldermalsen wreck,
Indonesia
Vase
China, c 1680 – 1700
Underglaze blue, pear-shaped vase
or Kaststel (Dutch), part of a ceramic
set for display, with flanged neck and
spreading base, birds among prunus
branches design; leaf (one of ‘One
Hundred Treasures’) on base.
Bowl
China, 1752
Underglaze blue, inner medallion
of bamboo and peony motif within
double line border and scrolling line
at rim, brown-glazed exterior.
Nanking Cargo, Geldermalsen wreck,
Indonesia
China, c 1680 – 1700
Underglaze blue, dish base medallion
with chrysanthemum design bordered
by double ring and scrolls.
Dish
China, c 1680 – 1700
Underglaze blue, medallion of lion-dog
amid scrolling ribbons, within double
line border, exterior with continuous
band of floral design.
Dish
China, 1752
Underglaze blue, medallion with
two pine trees in a landscape within
hatched border and hatched border
on inner rim.
Nanking Cargo - Geldermalsen
shipwreck, Indonesia
Private collection

Case 8
Large plate
China, c 1725
Underglaze blue, designed for
Western-style dining; “Scheveningen”
style pattern destined for Dutch
buyers in Batavia (Jakarta); landscape
image with church, lighthouse, human
figures with one tethering a cow,
Chinese-style cloud motif.
Pair of small plates
China, c 1725
Western-style dining; “Scheveningen”
style pattern destined for Dutch
buyers in Batavia (Jakarta); landscape
image with church, lighthouse, human
figures with one tethering a cow,
Chinese-style cloud motif.
Warming dish
China, 1817
Western-style dining with landscape
of pavilions, willow, boat and bridge
on a lake.
Diana shipwreck, 1817, Malacca Straits

The Canadian Society for Asian Arts’ (CSAA)
programs are realized through generous donations
of time and resources.
First and foremost, the Society acknowledges
the financial assistance of the Province of British
Columbia. Sincere thanks to the Dr. Sun Yat-Sen
Classical Chinese Garden for co-presenting the
Sunken Treasures: Asian Ceramics exhibition,
including Nina Kuznetsova, Arts and Exhibitions,
and the Garden team for their able assistance and
organization and Beth McKeown, Garden volunteer,
for connecting CSAA to the maritime world.
Thanks also go to CSAA’s committed members,
friends and the CSAA Board whose generosity
ensures program success. Additional supporters for
Sunken Treasures: Asian Ceramics include:
Dr. Chan and Mrs. Peggy Gunn, Anthony Phillips, the
curatorial team from the CSAA including Professor
Emeritus Sam Carter, Emily Carr University of Art
and Design and Margo Palmer, CSAA President.
Invaluable assistance was also provided by Michael
Chen, Asian ceramic specialist; Man Dao, graphic
designer; Julie Grundvig, educator, publicity
and website management; Beng Gunn, visitor
organization; Sheila Hall, curator and installation;
Phil Nuytten, Historical Diving Society Canada;
Diane Parsons, editor; Leticia Sanchez, planning
and publicity; and Paula Swart, Asian art scholar
and curator.
Sunken Treasures was made possible by the
generosity of private lenders, who enthusiastically
shared their shipwreck ceramics and knowledge:
Sam Carter, Phil Nuytten, Margo Palmer, Rosalie
Stronck, Scott Williams and other private lenders.
Sunken Treasures: Asian Ceramics Brochure: Margo
Palmer, with valued assistance from Paula Swart
Brochure design and photography by Patrick Gunn
Sunken Treasures:
Asian Ceramics – Program Events
Saturday, October 6th, 2–4pm
Opening Reception and Talk by Scott Williams,
“Lost Asian Treasures: The Manila Galleon Wrecks
of North America”
Sunday, October 21st, 2–4pm
Family Day Event, by education specialist
Julie Grundvig
Saturday, October 27th, 2–4pm
Talk by Paula Swart, “Shipwrecked: Treasures and
Monsoon Winds, Ceramics from Ancient Shipwrecks”
Sunken Treasures:
Asian Ceramics – Supporters

September 16 – November 8, 2018
Exhibition held at the Dr. Sun Yat-Sen
Classical Chinese Garden
Hall of One Hundred Rivers
578 Carrall Street, Vancouver, BC
Image top:
Japanese painting of a 16th century Chinese ship
Brown, Roxanna M. and Sten Sjostrand, Maritime Archaeology
and Shipwreck Ceramics in Malaysia, Kuala Lumpur:
Department of Museums and Antiquities, second edition,
2004, figure 23.
Front cover image:
Butterfields, Treasures from the Hoi An Hoard.
San Francisco: Butterfields Inc., 2000, page v

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